Digital BW, The Print

I just recently installed MIS-FS inks in my 7000. Have been using 
them with a demo copy of ImagePrint 4, but can't seem to get rid of 
the slight green cast in all two dozen large prints so far. The 
greenies appear accross the grayscale but are more evident in the mid 
tones. It is visible with both Crane Mueso and Somerset PE papers. 
BTW, I'm using ImagePrint's EP7000 MIS-FS profile. Any thoughts or 
suggestions would be appreciated. Note! Will cross post on The Epson 
9000 site. 

Bruce McElhaney
McElhaney Portrait Studio
Livonia, MI

I use the FS inks in an 1160 and notice a bit of olive
green on my prints; however, this is only evident
under tungsten lighting.  And, if I leave them exposed
unprotected (no glass) for a while - depending on the
paper - they turn a lovely shade of brown.  Museo
seems to be the worst offender for - what I term it -
the tungsten greenies.  I recently printed a duplicate
of a print that had been displayed for a few months
(both on museo) and noticed quite a difference. 
Again, this is viewed under tungsten:  New print
green, old print brownish. To my eye, the nearest I
can get to a neutral print is to use Eclipse Satine.

So, out of curiosity, do you see the greenies in all
lighting situations, or just tungsten?  Of course, and
I don't mean to continually beat a dead horse, after
viewing the purple haze of Lysonic inks, probably
everything will look green to me.

Thom
  
---  photo734 <photo734@...> wrote:

> I just recently installed MIS-FS inks in my 7000.
> Have been using 
> them with a demo copy of ImagePrint 4, but can't
> seem to get rid of 
> the slight green cast in all two dozen large prints
> so far. The 
> greenies appear accross the grayscale but are more
> evident in the mid 
> tones. It is visible with both Crane Mueso and
> Somerset PE papers.

I never used Cone inks, and carefully filled 9000 carts in my 7000. 
Before the MIS-FS inks, I had MIS-VM inks installed. However, I 
experienced a lot of posterizing and roughness with VM inks and Epson 
driver. I don't see that with the ImagePrint software and FS inks. In 
fact the prints look great except for the olive cast. And yes they do 
look more neutral under daylight lighting conditions. The greenies 
are most evident in the mid tones. If they warmed up a bit,that would 
be great. How long does it normally take for them to warm noticeably?

Bruce McElhaney
McElhaney Portait Studio
Livonia, MI

--- In DigitalBlackandWhiteThePrint@y..., Thom McGraw <thom@t...> 
wrote:

> I use the FS inks in an 1160 and notice a bit of olive
> green on my prints; however, this is only evident
> under tungsten lighting.  And, if I leave them exposed
> unprotected (no glass) for a while - depending on the
> paper - they turn a lovely shade of brown.  Museo
> seems to be the worst offender for - what I term it -
> the tungsten greenies.  I recently printed a duplicate
> of a print that had been displayed for a few months
> (both on museo) and noticed quite a difference. 
> Again, this is viewed under tungsten:  New print
> green, old print brownish. To my eye, the nearest I
> can get to a neutral print is to use Eclipse Satine.
> 
> So, out of curiosity, do you see the greenies in all
> lighting situations, or just tungsten?  Of course, and
> I don't mean to continually beat a dead horse, after
> viewing the purple haze of Lysonic inks, probably
> everything will look green to me.
> 
> Thom
>   
> ---  photo734 <photo734@e...> wrote:
> > I just recently installed MIS-FS inks in my 7000.
> > Have been using 
> > them with a demo copy of ImagePrint 4, but can't
> > seem to get rid of 
> > the slight green cast in all two dozen large prints
> > so far. The 
> > greenies appear accross the grayscale but are more
> > evident in the mid 
> > tones. It is visible with both Crane Mueso and
> > Somerset PE papers.

--- btmcelhaney <kmcelhaney@...> wrote:

 If they warmed up
> a bit,that would 
> be great. How long does it normally take for them to
> warm noticeably?
 
I don't remember exactly how long the print has been
displayed.  Somewhere between 7 and 10 months. The
print has been up long enough for me to ignore it. 
The only reason I gave it more than a cursory glance
was that I noticed a scratch on the wall next to it
and I was wondering if my kids had been up to no good.
 My long term concern is density loss.  To the naked
eye, I don't notice any.  Sure is a lot better than my
old 870 orange prints.

Thom  

> 
> Bruce McElhaney
> McElhaney Portait Studio
> Livonia, MI
>

After reading this stuff about green cast w/ MIS FS inks I made a 
print on Museo and a print on H. Willie Turner. I them compared 
them under tungsten light, fluorescent light, and daylight.

Here are my impressions....

1. Museo has a greenish cast when compared to Willie Turner 
even before printing.

2. After both prints has an hour or two to dry, the Museo in fact 
had an olive cast to it when compared to Willie Turner. I could 
definitely notice the cast in all three lighting situations.

3. Willie Turner has a slight olive cast under cool white 
fluorescent light, but not in daylight or under tungsten lighting.

4. When compared to prints that were a few months old,  the 
freshly printeed museo print was olive but the aged Museo print 
was not.

Perhaps we are seeing an inherent curing or aging process. I 
am not worried about an olive cast as long as it disappears 
withing a few days.

Mike

Interesting observations, Mike! I also noticed the Museo prints were 
more olive than Sommerset PE from the get go. All prints look more 
neutral, after viewing them outside in the daylight. Problem is, they 
will be mostly viewed indoors! Maybe I need to shop for different 
papers. Haven't tried Willie Turner yet.  Anybody have a good source? 
or other good paper recommendations?

Bruce McElhaney
McElhaney Photography Studio
Livonia,MI

--- In DigitalBlackandWhiteThePrint@y..., "mkravit" <mjkaia@k...> 
wrote:

> After reading this stuff about green cast w/ MIS FS inks I made a 
> print on Museo and a print on H. Willie Turner. I them compared 
> them under tungsten light, fluorescent light, and daylight.
> 
> Here are my impressions....
> 
> 1. Museo has a greenish cast when compared to Willie Turner 
> even before printing.
> 
> 2. After both prints has an hour or two to dry, the Museo in fact 
> had an olive cast to it when compared to Willie Turner. I could 
> definitely notice the cast in all three lighting situations.
> 
> 3. Willie Turner has a slight olive cast under cool white 
> fluorescent light, but not in daylight or under tungsten lighting.
> 
> 4. When compared to prints that were a few months old,  the 
> freshly printeed museo print was olive but the aged Museo print 
> was not.
> 
> Perhaps we are seeing an inherent curing or aging process. I 
> am not worried about an olive cast as long as it disappears 
> withing a few days.
> 
> Mike

--- btmcelhaney <kmcelhaney@...> wrote:

> or other good paper recommendations?

Give Eclipse Satine White a go.  Closest to neutral or
at least less green as compared to EAM, German
Etching,
PRag, and Museo.

Thom